Lalit Pandit and Pritam (guest composer)
Mudassar Aziz and Kumaar
Fardeen Khan, Sushmita Sen, Shahrukh Khan (Guest Appearance), Mohit Chadda, Tara Sharma, Johny Lever, Bina Kak and Suchitra Pillai
''Amritsar se Amreeka hil gaya....!'' DDLJ's euphoric concept of east meeting west in love communion blooms again in debutante director Mudassar Aziz's much awaited DULHA MIL GAYA. After wait for troublesome two plus years, it finally recovers from under-production roadblocks and SRK's injuries to make its mark on silver screen. Sushmita Sen makes perky presence with Fardeen Khan while Shahrukh Khan makes consequential appearance in this romantic fun-frolicking film. Presumably speaking, music has to be its strong forte and so expectations have to be big and challenging. Despite being low with success as solo composer, Lalit Pandit gets big opportunity of leading the musical show with Pritam being guest composer. Mudassar takes pain to set ball rolling and pens down some really funky lyrics. Can we expect Lalit Pandit to finally make it big as solo composer? Is the music sporting enough to live up to brand SRK's success quotient? Just set the things going by pressing up the ''play'' button...
Adnan Sami's deliriously shaky style of singing makes the first dent with pacing of reggae stylized music in amusing 'Akela Dil'. Lalit Pandit's gets the ''grind'' groovy party feel of Sami's Indi-Pop binge in the composition that is sluggishly frivolous in its techno-fizzy flows. Anushka Manchandani's oomph-ic rendition gives it upbeat vocal ooze that gels well with Sami's wobbly rendition. Mudassar Aziz's lyrics are simple yet pleasing to give it a youthful tangy feel but it's all enchanting visual display that will create buzz for this lively track. ''Akela Dil (remix)'' punches rhythmic DJ groove's in accelerated tempo with ''club-remix'' in giving it ''dancing-on-floors'' passion. Its cool start to the album but the booming chartbusting appeal and sets the hip-cool feel for the album.
The entertainment zone of the album picks up aggressively with ''bhangra'' beat culture flourishing high with energizing thrives in booty-shaking title track ''Dulha Mil Gaya''. This goes out on guidelines of popular title tracks like ''Dulhan Hum Le Jayenge'', complimenting to the vivacious gist and festive feel of the flick with hilarious punches. Mudassar Aziz's wordings scores appreciably this time with Daler Mehndi's pop-bhangra pompous displays that carries the fun to its extreme. It can well be clubbed into cadre of funky ''marriage-songs'' for its bombastic ''dhol-beat'' sumptuous appeal and can be played loud on occasions. The brand SRK clubbed with aggressive promotions will be its positive assets in making it commercially sound preposition. It's ''remix'' version gives it razor-edges of hitting high on dancing floors with beat-juggles, DJ spins and makes it a really hot-shot party-animal number. This works better than previous remix and this goes out for the festive marriage season and much desired addition in DJ's collection.
Lalit Pandit refurbishes his 90's nostalgic moments when KJo's marriage oriented festive tracks made grandiloquent presence on big screen in ethnically versed ''Aaja Aaja Mera Ranjhna''. Upcoming Swananda's docile voice in subtle tones gives it naive appeal with the feel good ''Aaja...aaja...'' rhyming, making it looks like another conventional KJo's ''filmi'' family entertainer track. Anushka Manchanda's enticing vocal buzz runs plays parallel emotions in brief verse but it's the overpowering of festive drumming that carries the festive show till last beat. A scintillating on-screen presence coupled with alluring choreographic moves is likely to be big appreciating factor for this festive situational track.
''Magar Meri Jaan'', a hot Arabic cum westernized musical feminine number shifts gears completely from previous tracks and carries out seductive oomph in its rigorous dancing flare. Anushka along with her old mate Mahua were rage in ''10 on 10'' (PYAAR IMPOSSIBLE) but now they disappoint completely in this loosely conceived composition. Lalit sings this out with them as back-up support but the shoddy arrangements with lackluster lyrics are big spoilsport.
Like contemporary ''Aaja Aaja Ranjhana'', the male solo track ''Tu Jo Jaan Le'' by Sonu Nigam is quintessentially 90's number that refreshes memories of Sonu's Indi-pop tracks like ''Deewana Tera'' (Album - Deewana (1999)) in its belligerently racy flows. It's a decent hear song but has outmoded stamp as the musical scenario is being completely taken over by soft-rock ballads. Mudassar's lyrics has poignant tinge in its romantic rainstorm of emotions but the late-arrived composition proves to be non-starter.
After male solo track, its mushy somber female solo track with archetypically Bollywood's ethics of love and compassion mushroomed with lucid wordings in ''Rang Diya Dil''. Shreya Ghoshal's demure composure of wannabe ''bride'' comes in serenity of melodic arrangements in modest displays of conventional instrumentals. Lalit makes civilized toil and so Mudassar's with his contemporarily conceived wordings but again it carries an outmoded look. It bears 90's overtly heard melodic appeal but still quality works worth in every sector and should be delightful situational track for the flick.
Some years back, there was huge chartbusting surprise in ''Dil Mein Baje Guitar'' (APNA SAPNA MONEY MONEY(2006)) that brought back Amit Kumar back in news in swashbuckling moods. It was long silence till again a volcano erupted in the form of ''Dilrubaon Ke Jalwe'', a hip-hop spiced ''qawalli'' number and made singer audible again. After the title track, there is something entertaining as well as enterprising in this number with its catchy rhythmic beats and hi-pitched tempo that hits the deck with bang. Amit Kumar's vociferous outrage at varying occurrence is engaging and so Mudassar's chirpy ''filmi-shayari'' that connects well with peppy emceeing. Monali's seductively shrill overtones works in latter half and gets into amusing ''jugalbandi'' and creates flamboyance of affairs for the actors. If shot aesthetically with big glamour quotient, it can be rage and the fun continues for dancing freaks as it enters into DJ's territory of amusement in equaling pulsating ''Dilrubaon Ke Jalwe (remix)''. Amit Kumar's voice gets pulverized comprehensibly with bouncing impacts with DJ spins and scratches and so Monali's feminine touches in making it dancing delightful experience. Entertaining!!!
To add ''novelty'' factor in the album, there is guest composer Pritam making his solitary presence in his contemporary style of composing in duet track ''Tu meri Shiri''. Neeraj Sridhar sings out in his appreciated baritones with juicy hip-hop emceeing mixing well in giving it a jiving-thriving appeal. Pritam inspires the signature feel from his strings of recently hip-shaking numbers hit tracks (''Love Mera Hit'' (BILOO (2008), ''Kiss Me Baby'' (GARAM MASALA (1999) etc) and induces ''qawalli'' elements at regular intervals to give it ''filmi'' duet feel. Tulsi Kumar's delicate vocals work in tandem in the latter half and add to the mood. This can't be finest from Pritam but appreciates out album's commercial prospects with substantial pep factor in it.
DULHA MIL GAYA is above-average entertaining album with just handful of soundtracks showing glitz and gleam of making it big on charts. As compared to previous albums as solo composer, Lalit Pandit's efforts are appreciable in this album with two soundtracks ''Dulha Mil Gaya'' and ''Dilrubaon Ke Jalwe'' showing promise of lifting up the spirits. Pritam makes decent efforts with ''Tu Meri Shiri'' and maintains the playful mood of the album. The remaining soundtracks wears outdated look of being overtly heard but still are decent-hear in their genre. The successful run at the box office will be surely be positive aspect as the tracks are mainly situational and works with the subject of the flick.